18th century
19th century
A01=Douglas Fordham
african scenery and animals
Age Group_Uncategorized
Age Group_Uncategorized
Author_Douglas Fordham
automatic-update
british art
Category1=Non-Fiction
Category=AFH
Category=DS
Category=HBJD1
Category=NHD
color prints
commercial illustration
commercial prints
COP=United Kingdom
costume of china
Delivery_Delivery within 10-20 working days
early modernism
eq_art-fashion-photography
eq_bestseller
eq_biography-true-stories
eq_history
eq_isMigrated=2
eq_nobargain
eq_non-fiction
etching
hand colored
intaglio
Language_English
oriental scenery
PA=Available
Price_€50 to €100
printmaking
PS=Active
softlaunch
travel illustration
Product details
- ISBN 9781913107048
- Dimensions: 241 x 286mm
- Publication Date: 12 Nov 2019
- Publisher: Paul Mellon Centre for Studies in British Art
- Publication City/Country: GB
- Product Form: Hardback
- Language: English
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An illuminating investigation of how aquatint travel books transformed the way Britons viewed the world and their place within it
In the late 18th century, British artists embraced the medium of aquatint for its ability to produce prints with rich and varied tones that became even more stunning with the addition of color. At the same time, the expanding purview of the British empire created a market for images of far-away places. Book publishers quickly seized on these two trends and began producing travel books illustrated with aquatint prints of Indian cave temples, Chinese waterways, African villages, and more. Offering a close analysis of three exceptional publications—Thomas and William Daniell’s Oriental Scenery (1795–1808), William Alexander’s Costume of China (1797–1805), and Samuel Daniell’s African Scenery and Animals (1804–5)—this volume examines how aquatint became a preferred medium for the visual representation of cultural difference, and how it subtly shaped the direction of Western modernism.
Distributed for the Paul Mellon Centre for Studies in British Art
In the late 18th century, British artists embraced the medium of aquatint for its ability to produce prints with rich and varied tones that became even more stunning with the addition of color. At the same time, the expanding purview of the British empire created a market for images of far-away places. Book publishers quickly seized on these two trends and began producing travel books illustrated with aquatint prints of Indian cave temples, Chinese waterways, African villages, and more. Offering a close analysis of three exceptional publications—Thomas and William Daniell’s Oriental Scenery (1795–1808), William Alexander’s Costume of China (1797–1805), and Samuel Daniell’s African Scenery and Animals (1804–5)—this volume examines how aquatint became a preferred medium for the visual representation of cultural difference, and how it subtly shaped the direction of Western modernism.
Distributed for the Paul Mellon Centre for Studies in British Art
Douglas Fordham is associate professor of art history at the University of Virginia.
